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  1. Il chitarrista-compositore newyorkese Mark Delpriora (1959) rende noto che a breve le Edizioni Musicali Bèrben di Ancona pubblicheranno la sua nuova serie di Studi per Chtarra "12 Études". Qui gli incipit delle singole pagine: Informazioni seguiranno.
  2. La casa discografica Da Vinci Publishing pubblica il nuovo CD del chitarrista italiano @Angelo Marchese interamente dedicato alla musica di Mario Castelnuovo-Tedesco. La tracklist completa: Dalle note introduttive This cd program is dedicated to the solo guitar music composed by Mario Castelnuovo-Tedesco, who devoted great part of his work to the six strings instrument. The performer here undertakes those compositions that didn’t have a place – or they only had a little one- into the repertoire of their famous inspirer – Andrés Segovia. They didn’t actually have the same celebrity of other works by the Florentine master, such as Sonata (Omaggio a Boccherini), Capriccio Diabolico (Omaggio a Paganini), Tarantella, Concerto n. 1 in Re per chitarra e orchestra, Quintetto per chitarra e archi and Platero y yo. That doesn’t mean that the other Castelnuovo-Tedesco’s compositions were less valiant and worthy. Andrés Segovia himself , while praising their beauty and formal perfection, regretted he couldn’t include them into his programs since – travelling a lot for his work- he didn’t have the necessary time to renew his repertoire. Castelnuovo-Tedesco and Segovia met in Florence between 1928 and 931, in the house of Passigli, a patron. Anyway, it was only in 1932, when they met in Venice on the occasion of the contemporary music festival, that the great guitarist asked the already famous author for a piece. Segovia didn’t directly talk to Castelnuovo-Tedesco, but to his wife, Clara, praising her to be his ambassador. The composer was really glad to accept his proposal and, one month later, Segovia, who was at that time living in Geneva, already had the manuscript of the Variazioni attraverso i secoli. With a great ease, Castelnuovo-Tedesco, by the reading of Variazioni su un tema di Mozart by Fernando Sor and Variazioni e Fuga sulla Follia di Spagna by Manuel M. Ponce- just published- had been able to take possess of the guitar writing and he so imagined his idiomatic coordinates to astonish Segovia, who immediately honoured Castelnuovo-Tedesco’s new work. Segovia really felt at ease with the initial Ciaccona – recalling the Italian Baroque_- with the Schubertian Preludio, with the Walzer full of Viennese moods. But maybe he, who deeply wanted his understimated instrument to gain an ancient and regal dignity- felt a little embarrassed with the final Fox Trot that seemed to have been conceived for a jazz orchestra. And so, between 1934 and 1939, Segovia asked to Castelnuovo-Tedesco those compositions (we have already mentioned before ) that would have accompained him all along his glorious career. And he obviously put aside those Variations ( that he really liked ), because of their impertinent conclusion (that he didn’t like at all) . Emigrated into the United States in 1939, and settled in Beverly Hills in 1940, Castelnuovo-Tedesco got back in touch with his guitarist friend (who in the meanwhile had moved to Montevideo). So he started again to compose pieces for him and in 1943 he wrote the beautiful Serenata per chitarra o orchestra da camera, which is unfortunately still neglected. His muse and the Segovian rigid control, moved hin to compose many pages for solo guitar, among which those ones we can listen in this programme. The magnific Rondò was born in 1946. Since the compositions of the previous decade it was just clear that Castelnuovo-Tedesco, in treating an instrument with so restricted polyphonic features, wasn’t willing to renounce to any details of his artistic profile. But it wasn’t enough for him. It was actually writing this piece for Segovia that he reached his apex into the construction of a rondo-form, elevated to the highest degree of architectonic knowledge, with precious marquetries between refrains and strophes. He himself called it his “rondo’ model” that to the perfection of the design joined the fascination of themes and melodic digressions. On the background we can glimpse the shadow of one of the favourite masters of Castelnuovo-Tedesco, Felix Mendelssohn. And the performers are here right in their soft acting, with a barcarolle allure also in the rapid figurations , without any form of inappropriate virtuosity. In 1955, the Florentine master composed two works full of fancy and colours: Tre Preludi Mediterranei and Suite of Spanish Dances from the XVI Century (after Cervantes) entitled Escarraman. These three pieces weren’t commissioned to him by Segovia but by the musical publishing. The Preludi Mediterranei were actually dedicated to Renato Bellenghi, owner of Edizioni Musicali Forlivesi; Escarraman was instead commissioned by the New York’s branch of the Ricordi publisher. The Preludi Mediterranei can be defined – with metaphorical license – as “paintings”, and Escarraman is instead a sort of dance arose from literature. Really sensitive to the suggestions coming from other forms of art, in his Preludi the composer evoked the myths of the Italian sea. His willing is especially clear in Nenia, the tender aulodia in which is not difficult to recognize some reminiscences of the wonder lyric by his master Ildebrando Pizzetti entitled I pastori (on the text by D’Annunzio), and in the tumultuous dance of the third Preludio, recalling memories of pagan feasts. The poetical origins of Escarraman is instead a little more cryptic. The composer was moved by his dear friend Arturo Loria, a writer, to read the Miguel de Cervantes’ intermezzo, El rufián viudo, in which the great Spanish dealt with the picaresque genre. During a banquet, in which a mournful widower finds his new consort among the approval of less than reputable tablemates, Escarraman suddenly appears. He seems to be able to express is controversial nature of brigand, escaped convict and, at the same time, devoted peregrine marching toward a faraway sanctuary , mainly through his dance skill rather than through the autobiographical description (“This is the tale of my strange history/worthy of being treasured in my memory”). Accompanied by two guitarists he throws himself into the feats of the baile, raising the general wonder. Castelnuovo-Tedesco images the music for this dance, in which popular rhythms and courtly style merge, recalling the splendors of the Spain of the Siglo de oro. In 1956, Segovia asked to his friend to compose a Passacaglia. He was really sad about the ugliness of another Passacaglia written for him by a famous Spanish composer. So he tried to find consolation in Castelnuovo-Tedesco, who helped him with the Omaggio a Roncalli. This title is full of cultural references: Roncalli, Bergamasque guitarist and composer of the end of the XVII Century, was the author of that Passacaglia of which Ottorino Respighi had made a splendid version for strings into the first of his three suites intitled Antiche Arie e Danze per liuto. A story that isn’t Spanish at all but rather mostly Italian…. - Angelo Gilardino
  3. Cristiano Porqueddu

    Caro Mario

    Per la prima volta in edizione a stampa, dagli archivi della Library of Congress di Washington, il carteggio fra due esponenti chiave della musica del Novecento, indissolubilmente legati dalla comune dedizione alla chitarra. Per la loro impronta colloquiale e spontanea, queste lettere di Andrés Segovia a Mario Castelnuovo-Tedesco delineano con inedita precisione il profilo del grande chitarrista spagnolo. Ne emergono non solo i valori fondanti della propria “missione” di musicista, ma anche i turbamenti e le apprensioni che i frenetici impegni di un concertista internazionale comportavano. Nei confronti di Castelnuovo-Tedesco, la stima e l’affetto che traspaiono dalle lettere assumono i connotati di un’autentica militanza in favore della sua musica. È possibile così ripercorrere le vicende delle composizioni più celebri come anche dei progetti concertistici ed editoriali che Segovia rincorse senza infine riuscire a realizzare. Il suo incessante desiderio di musica trovava appagamento nella fresca creatività dell’amico compositore quasi fosse un antidoto agli affanni del quotidiano. Lettura appassionante e spesso rivelatrice, questa raccolta epistolare completa idealmente le biografie di Andrés Segovia e di Mario Castelnuovo-Tedesco, nella stessa collana Edizioni Curci, offrendo un documento prezioso per la storia della chitarra e del suo repertorio.
  4. Sono aperte le iscrizioni alla nuova edizione del Concorso per Chitarra "Gaetano Marziali". Informazioni e dettagli: eMail: Telefono: 3335837829
  5. Cristiano Porqueddu

    Americas, Fabio Zanon

    Guitar Coop pubblica il nuovo CD del chitarrista brasiliano Fabio Zanon da titolo "Americas" La tracklist completa: 01.Paulo Bellinati (Brazil, 1950) Emboscada (Xaxado) 02. Carlos Gardel (?,1883?-1935) e Alfredo Le pera (Brazil 1900-1935) - arranged by Victor Villadangos El Dia que Me Quieras 03. JUAN ÁNGEL RODRÍGUEZ (Argentina, 1885-Brazil, 1944) Coral del Norte (Zamba Chilena nº1), op.29 04. AGUSTÍN BARRIOS "MANGORÉ" (Paraguay, 1885-El Salvador, 1944) Danza Paraguaya 05. GENTIL MONTAÑA (Colombia, 1942-2011) Suite Colombiana nº 2: IV - Porro 06. ARIEL RAMÍREZ (Argentina, 1921-2010) - revised by Irene Costanzo Balada para Martín Fierro (Aire Sureño) 07. Anonymous from Chile, arranged by Carlos Pérez (Chile, 1976) Parabienes (Ya se Casaron los Novios) 08. EDUARDO FABINI (Uruguay, 1882-1950) - transcribed by Eduardo Fernández Triste nº 1 09. MARIA LUÍSA ANIDO (Argentina, 1907-Spain, 1996) Aire Norteño 10. RAFAEL MIGUEL LÓPEZ (Venezuela 1907-2002), arranged by Alírio Diaz Así Yo Te Soñé (Valse-Canción) 11. MANUEL M PONCE (Mexico, 1882-1948) - edited by Jésus Silva Estrellita 12. Folk dance from Honduras - arranged by Carlos Barrientos (Honduras, 1954) A La Capotín (Xique) 13. SINDO GARAY (Cuba, 1867-1968), guitar version by Rey Guerra Perla Marina 14. MARCO PEREIRA (Brazil, 1950) Bate-Coxa 15. CARLOS PAYÉS (PAYET) (El Salvador, 1940) Lejania 16. FRANCISCO VELÁSQUEZ (Panama, 1948) Pasillo nº 1 17. CARLOS BONILLA (Ecuador, 1923-2010) Solo Tu (Pasillo) 18. ANTONIO LAURO (Venezuela, 1917-1986), revised by Alírio Diaz Virgílio (Bambuco Tachirense) 19. EDUARDO CABA (Bolivia, 1890-1953) transcribed by Piraí Vaca Aire Índio nº 2 20. FRANTZ CASSÉUS (Haiti, 1915-USA, 1993) Dance of the Hounsies 21. RODRIGO RIERA (Venezuela, 1923-1999) Preludio Criollo 22. FREDERIC HAND (USA, 1947) Lesley's Song
  6. Nuova release discografica di Brilliant Classics dedicata al repertorio per flauto e chitarra. Il CD singolo contiene musica di George Rochberg, Terry Riley, Osvaldo Golijov, Marc Ribot, Charles Wuorinen, Mark Delpriora and Ruth Crawford Seeger. Daniele Ruggieri, flauto Alberto Mesirca, chitarra La tracklist: Dal sito dell'editore: A brief history of 20th-century American music and a valuable, offbeat addition to the comprehensive Brilliant Classics library of guitar music. Among the most extensive works here is the cycle of Cantos Desiertos (1996) composed for flute and guitar by Terry Riley. The cycle was later incorporated within The Book of Abbeyzoud, an album with a character suspended between the Biblical, the mystical and the exotic. Francesco en Paraiso is a tender memorial to the countertenor Frank Royon Le Mée (1952-1993). The cycle continues with an Indian melody, and a melancholy lament before ending with a sultry Tango Ladeado (Tango Off-Centre). Hardly less substantial is Muse of Fire (1990) by George Rochberg, written in the shadow of the Gulf War: hence the sudden stops and starts, the military evocations, the funeral marches, the moments of dream-like lyricism and the rhapsodic soliloquies. Ora pro nobis (1991) is based on the slow movement of Bach’s Italian Concerto: a plea for release at a deeply troubled time. Bateau is a song from the 2003 album Ceramic Dog by Marco Ribot, who works mostly with jazz and post-rock musicians: this is the work’s first performance on classical guitar, and Alberto Mesirca brings out the delicate textures that evoke light shimmering on water. Of similar aquatic origins, Fish Tale is a ‘watercolour for flute and guitar’ by Osvaldo Golijov: ‘I wanted everything to be beautiful,’ said the composer, ‘even at the expense of some sense.’ This unique compilation concludes with shorter solo pieces alternating between flute and guitar, taking in the satisfyingly intricate textures of Crawford Seeger and Wuorinen at each end of American modernism, as well as a touching elegy by Mark Delpriora in memory of a student of his, Basil Keiser. This is the third solo album on Brilliant Classics by the guitarist Alberto Mesirca after his collections of music by Regondi (BC94841) and Sanz (BC95396). This fascinating program presents original works for flute and guitar written in 20th century America, as diverse and complex as the country itself, making the distinction between “classical”, “popular” and “folk” meaningless. Featured are works by George Rochberg, Terry Riley (the minimal music pioneer), Marc Ribot, Osvaldo Golijov, Charles Wuorinen, Ruth Crawford Seeger and Mark Delpriora: a kaleidoscope of highly original, provoking and diverting music! Played with passion, understanding and consummate skill by flutist Daniele Ruggieri and guitarist Alberto Mesirca. Excellent and extensive liner notes by Giovanni Cestino.
  7. Ciao @Cosimo. Quella che leggi nello spartito si chiama melodia ed è la linea principale della pagina che intendi suonare. Come hai già intuito, le indicazioni sotto la melodia riguardano l'impianto armonico della melodia o, per dirla nello stile della pubblicazione di cui hai mandato la foto, "gli accordi". Se hai la possibilità di registrarti con un qualsiasi smartphone, fai questo esperimento anche sulle note della sola prima riga: Registra la melodia senza commettere errori; Riascolta la melodia e suona gli accordi di SOL Maggiore, DO Maggiore e di nuovo SOL Maggiore quando indicato sullo spartito, ovvero, SOL Maggiore dall'inizio DO Maggiore sul secondo movimento della terza battuta SOL Maggiore sulla quarta battuta
  8. Brilliant Classics avvia la distribuzione del nuovo CD dedicato alla musica di Leo Brouwer (1939) nell'interpretazione di Frédéric Zigante. La tracklist: Dal sito dell'editore: This recording presents some of the most significant early pieces by the Cuban composer Leo Brouwer (b.1939); it also includes other works, such as Hika from 1994 and the third and fourth series of his Estudios sencillos (1981), which show clear similarities with the composer's early style. First to be composed of the works here is a Danza caracteristica from 1956. A popular song melody forms the basis for an Afro-Cuban flavoured fantasy. The Fugue No.1 dates from the following year, when Brouwer was still a teenager: having outlined a theme of Baroque proportions he takes a fairly free attitude to its contrapuntal elaboration, anticipating the concise play of fantasy in the Tres Apuntes of 1959. Having soon after moved to the US, Brouwer composed the first two books of the Estudios sencillos out of financial necessity, but they have proved among his most enduring and successful works, drawing energy not only from his Cuban heritage but the didactic economy of the Mikrokosmos by Bartók. Almost all of the third and fourth books from the series date from 1981; although Brouwer had both moved back to Cuba by then as well as moved on in his own style towards a more neo-romantic language, he rediscovered the lively economy of thought which runs through the earlier studies, combining it with both neoclassical harmonies and even chance procedures to produce among the most significant collections of guitar studies from the second half of the last century. ‘These short pieces reflect all of Brouwer’s creative genius,’ says Frédéric Zigante, ‘and I have always been fond of them, first as a young student of guitar and later as a guitar teacher. To me, they are an ideal method for weaning young guitarists from the didactic repertory of the 19th century.’ The French-born guitarist bases his career in northern Italy, but he has performed and recorded worldwide, as well as editing more than 40 volumes of guitar music for publishers such as Ricordi and Max Eschig. Leo Brouwer (1939) is by far Cuba’s best known composer. A composer, guitarist, percussionist, conductor, teacher and cultural promotor he is one of the most important and influential musical figures of Latin-America. Brouwer’s grandfather was a Franco-Dutch adventurer, while his mother’s uncle was the famous composer Ernesto Lecuona. Brouwer studied at the prestigious Juilliard School in New York with Persichetti and Stefan Wolpe. In 1961 he returned to his native Cuba, to become a professional guitarist and composer. His works have entered the standard repertoire of the modern guitarist, played and enjoyed all over the world. This new recording includes the Hika, a piece written in memoriam Toru Takemitsu, a close friend of his. The other works are from Brouwer’s “early period”: the complete “20 Estudios Sencillos” (a Latin-American answer to Bartók’s Mikrokosmos), a Danza Caracteristca, Elogio de la Danza, and Tres Apuntes, all written in Brouwer’s unique fusion of Folk Music and 20th century Avant-Garde. Excellent performance by master guitarist Frédéric Zigante, who recorded for Brilliant Classics the complete guitar music by Villa-Lobos.
  9. Svit i Svensk Folkton di Ulf Göran Åhslund (1939-2013) Informazioni sul compositore qui:
  10. Le edizioni Ut Orpheus pubblicano la nuova composizione di Franco Cavallone (1957) "Per il tempo di Pasqua". Anteprima: Per il tempo di pasqua franco cavallone.pdf
  11. In Collaborazione con ChitArs Nova (Danilo Bazzana e Francesca Bignami) I liutai che esporranno durante la mostra: Ivan Bruna Marco Gilioli Mirko Migliorini Davide Scacchi Fabio Schmidt Angelo Vailati Matteo Vaghi Nella tre giorni del festival sarà possibile ammirare strumenti costruiti da alcuni dei più bravi e talentuosi liutai italiani. Sarà poi possibile: • conoscere di più di questa affascinante arte attraverso l’incontro diretto con i Maestri • Provare gli strumenti direttamente nelle sale prove • Ascoltare il loro suono in concerto con evento pensato appositamente, nelle mani esperte del chitarrista scozzese Sasha Savaloni
  12. La composizione è da oggi edita da @GuitArt Intern. Group. Link:
  13. @Giorgio Tonin, ma c'è anche l'mp3 oltre lo spartito. Lo sposto nella sezione audio?
  14. GuitART pubblica la composizione per chitarra sola del chitarrista compositore Oscar Bellomo (1980) intitolata "Ten Variations on an Armenian Theme". Ne ho parlato in un articolo qui. Da questo link si può ascoltare la registrazione del tema. La composizione sarà parte integrante del progetto discografico Novecento Guitar Variations le cui registrazioni inizieranno nell'inverno del 2019.
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